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School of the Arts Library 19 Abercromby Square
L69 7ZG Liverpool
Hellenistic Poetry Before CallimachusAn Enquiry Into Two Lost Generations
University of Liverpool, 14-15 June 2016
Marco Perale [email protected]
Guendalina Taietti [email protected]
Jan Kwapisz [email protected]
Ewen Bowie (Oxford) Benjamin Cartlidge (Oxford) Martine Cuypers (TCD) Marco Fantuzzi (Macerata) Lucia Floridi (Milan) Annette Harder (Groningen) Richard Hunter (Cambridge) Gregory Hutchinson (Oxford) Jan Kwapisz (Warsaw) Rebecca Lämmle (Basel)
Pauline LeVen (Yale) Enrico Magnelli (Florence) Thomas Nelson (Cambridge) Maria Noussia (Thessaloniki) S. Douglas Olson (Freiburg) Peter Parsons (Oxford) Marco Perale (Liverpool) K. Spanoudakis (Rethymno) Guenda Taietti (Liverpool) Agnieszka Toma (Wrocław)
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Hellenistic Poetry before Callimachus
An international conference at the University of Liverpool
14-15 June 2016
You who walk past my tomb, know that I am son and father of Callimachus of Cyrene.You must know both: the one led his country’s forces once, the other sang beyond the reach of envy. Callimachus, Epigram 21 Pf., tr. F.J. Nisetich
Callimachus’ epitaph for the tomb of his father is notorious for how perplexingly little it says about the deceased. We are told neither his name nor profession, whereas the name that resounds loud and clear is that of the author of the epigram. This is a measure of how Callimachus outshone his father. The Greeks may have found delight in being defeated by their children (cf. Pl. Mx. 247a), yet we are less impressed. Even for the sake of Callimachus himself, would it not be rewarding to know who his father was?
The epigram illustrates the broader problem we have with the poet’s closest literary ancestors. If we do our counting carefully, we see clearly enough that there is a two-generation gap between the beginning of what Droysen labelled as the Hellenistic period (Geschichte der Hellenismus, 1836, 19 - although he himself was not very clear about the chronological boundaries of his ‘new’ word) and the advent of ‘Golden Age heroes’ Callimachus, Theocritus, and Apollonius of Rhodes. Whilst the latter were not treated altogether kindly by fate, the generations of their fathers and teachers have been almost completely obscured. Almost – because what we do know is enough to give us a taste of what we are missing.
Our conference is an unprecedentedly ambitious attempt to sketch a picture of the lost generations of the poets active during the last two decades of the fourth century and the first two decades of the third. We undertake to approach Philitas, Simias, Phoenix, Crates, and Timon and the whole gamut of their obscure contemporaries, genre by genre. We aim to discuss a number of thorny issues, among which the chronology and circulation of early Hellenistic poetry; the role these two generations played as forerunners of Hellenistic poetry and intermediaries between the tradition(s) of late Classical poetry and the new voices of Hellenistic poetry; and the larger implications for our (brittle) attempts of periodization. This pioneering venture into the origins of ‘Hellenistic-ness’ will help illuminate the shadowy and mysterious realms of Hellenistic poetry before Callimachus
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VenueSchool of the Arts Library, 9 Abercromby Square, University of Liverpool campus, Liverpool, L69 7ZG.
RegistrationAll are welcome at the conference. There is no registration fee but please use this link to our online shop to register. You can also let the conference organisers know in advance if you wish to attend (see below).
Organisers• Jan Kwapisz (Warsaw)• Marco Perale (Liverpool)• Guendalina Taietti (Liverpool)
Organised by the Department of Archaeology, Classics and Egyptology at the University of Liverpool and the Instytut Filologii Klasycznej of the University of Warsaw, the conference is made possible by the generous support of the Postgate Fund, the Warsaw Faculty of Polish Studies, and the Warsaw Institute of Classical Philology.
http://payments.liv.ac.uk/browse/extra_info.asp?compid=1&modid=2&deptid=38&catid=45&prodid=1453mailto:[email protected]:[email protected]:[email protected]
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Hellenistic Poetry Before Callimachus
14-15 June 2016
School of the Arts Library, 19 Abercromby Square, Liverpool L69 3BX
Dept. of Archaeology, Classics and Egyptology University of Liverpool
Instytut Filologii Klasycznej of the University of Warsaw
PROGRAMME
Tuesday, 14 June 2016
9:00 - 9:30 Registration
9:30 - 9:35 Opening speech (Classics Coordinator, Bruce Gibson)
9:35 - 9:50 Presentation: Marco Perale, Jan Kwapisz
9:50 - 10:25 Keynote Lecture: Richard Hunter (Trinity College, Cambridge) - Callimachus and the Lan-
guage of Rhetorical Style
Epic and mock-epic (chair: Marco Fantuzzi)
10:25 - 11:00 Thomas Nelson (Trinity College, Cambridge) - Early Hellenistic Epic: A Reassessment
11:00 - 11:20 COFFEE BREAK
11:20 - 11:55 Enrico Magnelli (Florence) - Argonautic Epic Before Apollonius: Cleon of Kourion, and
(Possibly) More
11:55 - 12:30 Guendalina Taietti (Liverpool) - The Poets at Alexander’s court: How Flat is Flattery?
12:30 - 13:05 S. Douglas Olson (Freiburg Institute for Advanced Studies / Heidelberger Academy /
University of Minnesota) - Mock-Epic and Mock-Didactic in the Late Classical and Early Hellenistic Periods:
Archestratus, Matro and Others
13:05 - 14:00 BUFFET LUNCH
Comedy & Tragedy (chair: Richard Hunter)
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14:00 - 14:35 Benjamin Cartlidge (St John’s College, Oxford) - The Attic Challenge: Poetics at the End
of the Long Fourth Century
14:35 - 15:10 Agnieszka Kotlinska-Toma (Wroclaw) - Early Hellenistic Tragedy and the Rise of a New
Aesthetic
15:10 - 15:45 Marco Fantuzzi (Macerata) – The author of the "Rhesus" as poeta doctus and "critic" of the (tragic) tradition
15:45 - 16:15 COFFEE BREAK
Lost voices (chair: Ewen Bowie)
16:15 - 16:50 Annette Harder (Groningen) - Traces of a Lost Generation
16:50 - 17:25 Pauline LeVen (Yale, via Skype) - The Authorial Voice of Lost Authors in Early Hellenistic
Hymns
17:25 - 18:00 Peter Parsons (Oxford) - Wandering Poems in Early Ptolemaic Egypt?
19:00 CONFERENCE DINNER
Wednesday, 15 June 2016
Elegy and Epigram (chair: Annette Harder)
9:00 - 9:35 Martine Cuypers (Trinity College Dublin) - Catalogue Elegy from Antimachus to Alexander
Aetolus, Hermesianax, Phanocles and Others
9:35 - 10:10 Lucia Floridi (Milan) - Early Hellenistic Epigram: Themes, and ‘Genres’
Philosophical Poetry (chair: Annette Harder)
10:10 -10:45 Maria Noussia-Fantuzzi (Thessaloniki) - A Cure for Love. Resisting Eros in Early Hellenis-
tic Philosophy and Poetry
10:45 - 11:20 Rebecca Lämmle (Basel / Cambridge) - Cynulcus' Timon: Athenaeus and the Silloi
11:20 - 11:35 COFFEE BREAK
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Metrical extravagance (chair: Gregory Hutchinson)
11:35 - 12:10 Jan Kwapisz (Warsaw) - Taking Odd Measures
12:10 - 12:45 Marco Perale (Liverpool) - Simias of Rhodes, the Artsy Avant-guardist
12:45 - 13:20 Ewen Bowie (Corpus Christi, Oxford) - Philicus, 14 Months on
13:20 - 14:05 BUFFET LUNCH
Philitas of Cos (chair: S.Douglas Olson)
14:05 - 14:40 Konstantinos Spanoudakis (Rethymno) - Philitas of Cos, 14 Years Later
14:40 - 15:15 Gregory Hutchinson (Oxford) - Philetas among the Romans
15:15 - 15:30 Jan Kwapisz, Marco Perale - Closing remarks
The event has been made possible by the generous support of the Postgate Fund, the Warsaw Faculty of
Polish Studies, and the Warsaw Institute of Classical Philology.
v. 25 April 2016
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Hellenistic Poetry Before Callimachus
14-15 June 2016
School of the Arts Library, 19 Abercromby Square, Liverpool L69 3BX
Dept. of Archaeology, Classics and Egyptology University of Liverpool
Instytut Filologii Klasycznej of the University of Warsaw
ABSTRACTS
Ewen Bowie (Corpus Christi, Oxford) - Philicus, 14 Months on
The paper will revisit issues which were treated too briefly in my skirmish with Philicus in
2015: the implications of his apparently chiefly tragic output for the structure, location
and dialect of his Demeter; the related issue of whether the poem is calculated to be
equally adapted for reading and recitation; its exploitation, as by other near-contemporary
poems, of meta-literary images of purity and remoteness; Philicus’ idiosyncratic choice of
metre; and the perhaps consequential restriction of later ancient knowledge of the poem
to metricians.
Benjamin Cartlidge (Faculy of Classics and St John’s College, Oxford) - The Attic
challenge: Poetics at the end of the long fourth century
Alexandrian poetry and post-classical comedy are both ‘Hellenistic’ literatures, in the sense
with which historical scholarship has usually invested the term (following Droysen and
others). Yet they are rarely read together – or for that matter, against each other. The
integration, or non-integration, of comedy into the story of Hellenistic literature has been
an important area of scholarly dissent (e.g. Arnott 1979: xxxviii-xlv vs. Hutchinson 1988:
10). By asking what is ‘Hellenistic’ about New Comedy, we raise a number of questions
about the relationship between literature in Attica in the fourth and third centuries and the
later developments in Alexandria.
Studies of Hellenistic literature often point to its self-reflexivity about poetic production
and its literary predecessors. New Comedy, particularly Menander, is frequently brought
into dialogue with tragedy, sometimes by scholars simply seeking to list parallels or tragic
‘models’. This approach obscures comedy’s rather richer relationship with fifth century
literature; the generic enrichment of comedy by tragedy, epic, dithyramb, philosophical
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texts, and epinician speaks to the wide-ranging literary interests of comic poets. Petrides
(2014) has recently studied comedy’s awareness and exploitation of its mask; comedy
knows itself – and famously exhorts others to do the same; the self-consciousness of
literary production is reflected on different levels of the text. The pointed, neat, elegant
plotting of Menander’s comedy – we should dearly love proper comparative material here!
– also looks forward to the elegant constructions of Hellenistic poets. The premium on
cleverness, on deceptively wrought simplicity, draws comedy and Hellenistic poetry to-
gether into a single nexus.
Martine Cuypers (Trinity College Dublin) - Catalogue Elegy from Antimachus to Alexan-
der Aetolus, Hermesianax, Phanocles and Others
Apart from epigram, most of the remains of early Hellenistic elegy are catalogue poetry,
with as most substantial specimina a 98-line catalogue of ‘loves of the poets’ from Her-
mesianax’s Leontion (CA 96–106), a 28-line catalogue of pederastic love affairs by Phan-
ocles (Loves or Beautiful Boys, CA 106-9) and the fragmentarily preserved Tattoo Elegy,
which list cautionary myths that the speaker threatens to tattoo upon his enemy’s skin
(SH/SSH 970). Further practitioners include, among others, Alexander Aetolus (Apollo,
Muses) and Philitas (Bittis). Key models appear to have been the Hesiodic Catalogue and
Mimnermus’ Nanno, but Antimachus’ Lyde also hang as a spectre over these poems and
all subjective catalogue elegies of the Hellenistic period, including Callimachus’ Aetia (as
is clear, for example, from Call. fr. 398 Pf., Posidip. AP 12.168 and Asclep. AP 9.63).
Focusing on Hermesianax, Phanocles and the Tattoo Elegy, this paper will explore not only
the extant evidence per se but also whether anything can be gained for its appreciation
by revisiting the remains of Antimachus’ Lyde, twenty years after the appearance of Victor
Matthews’ monumental edition.
Marco Fantuzzi (Macerata) - The author of the "Rhesus" as poeta doctus and "critic" of
the (tragic) tradition
My paper presupposes the results of my previous contributions of 2005 ('Euripides (?),
Rhesus 56-58 and Homer, Iliad 8.498-501: Other Possible Clues to Zenodotus’ Reliability’,
CPh 100, 2005, 268-73) and 2010 ('Scholarly Panic: panikos phobos, Homeric Philology
and the Beginning of the Rhesus', in S. Matthaios, F. Montanari, and A. Rengakos (eds.),
Ancient Scholarship and Grammar: Archetypes, Concepts and Contexts, Berlin-New York,
De Gruyter 2010, 41-54). These works had been case studies demonstrating how the
author of the Rhesus loves to opt and implicitly argues for specific variants or interpreta-
tions that appear to be more or less hotly debated by later scholars, and may have been
also debated some decades before the beginning of professionally “philological" research
in the modern sense of the term. My paper wil consists of discussions of some more cases
in Rhesus where allusive practice and scholarly choice are closely connected, and presup-
pose the taste for philological discussion that is usually connected to Hellenistic poets (the
Rhesus dates from second half of the 4th cent., according to a now widely accepted chro-
nology). An example follows, exempli gratia.
Rh. 356 διφρεύων βαλιαῖς πώλοις
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βαλιός, down to the 4th cent., is a Homeric-Euripidean word (Βαλίος is the name of one
of the two horses of Achilles at Il. 16.149 and 19.400; Eur. Alc. 578, Hipp. 218, Hec. 90,
IA 222 - all of them lyric passages as in Rh.). It is usually assumed to mean "dappled" in
Hom. and Eur., but "fast" in, at least, Call. F. 110.53 Harder; Triphiod. 84; Synes. H. 1.77;
always in Nonnus, Dion. (12x) and Par. Io. 10.70 – a series of passages where βαλιός often modifies nouns like πτερά, ἄνεμοι, αὖραι, ἀῆται, γούνατα, etc., unequivocally con-
nected to "speed" and not to "dapple". But Σ to the βαλιός passages of Hom. and Eur.
(and Oppian) frequently interpret it as "fast" or suggest both alternative interpretations “dappled” or "fast": Σ T Hom. Il. 16.149 Ξάνθον καὶ Βαλίον· ὁ μὲν ἀπὸ τῆς χροιᾶς, ὁ δὲ ἀπὸ
τοῦ πηδᾶν; Σ Eur. Hec. 90 βαλίαν τὴν λίαν ἐνεργῆ τῶι βήματι and βαλίαν· γράϕεται καὶ βαλιά
καὶ βαλία. διαϕέρει δέ· βαλία μὲν γὰρ λέγεται ἡ ταχεῖα παρὰ τὸ λίαν βαίνειν, βαλιά δὲ ἡ
κατάστικτος, Hipp. 218 βαλιαῖς· ταῖς ποικίλαις τὴν δορὰν καὶ καταστίκτοις. ἢ ταχείαις, παρὰ
τὸ βαίνειν ἅλις; Opp. Hal. 2.434 βαλιῆισιν· καταστίκτοις, ἢ ταχείαις· βαλιὰ ἡ κατάστικτος
ἔλαϕος ἢ ἡ ταχεῖα, [Cyn.] 2.314 βαλιῶν· ταχυτάτων. The wavering between the two se-
mantic fields of colour and speed may have been ancient with βαλιός as it was with ἀργός
(cf. Frisk (1954/1972) I.214), and not necessarily had to begin with Callimachus (pace
Schmitt (1970) 53-4 n. 6). And Σ to our passage may be correct in reminding the contra-diction with the whiteness of Rhesus' horses at 304 (and 618) and assuming: δύναται δὲ
ἀντὶ τοῦ ταχείαις. Modern interpreters, from Hermann (1828) 293 to Feickert 198-9, Liapis
162, and Fries 251, charge 356 of contradiction, and try to explain it as a misunderstand-ing or bad memory of Eur. IA 220-2 πώλους … λευκοστίκτωι τριχὶ βαλιούς. But they may
be wrong. Before Callimachus, the Rh. author made perhaps his own scholarly choice
about the alternative meanings between which βαλιός was already fluctuating.
Lucia Floridi (Milan) - Early Hellenistic Epigram: Themes and ‘Genres’
This paper offers an investigation into the themes and epigrammatic subgenres practiced
by late 4th to early 3rd century epigrammatists. It will focus in particular on ‘minor’ fig-
ures, such as Hedylos of Samos, who have been neglected in the secondary literature.
They will be compared to the most important epigrammatists of the same period, such as
Posidippus and Asclepiades, in order to detect differences and similarities in their inter-
pretation of the genre, in a crucial time of its development. The study aims to to shed new
light on the thematic features of epigram of the early Hellenistic age – that is, a couple of
centuries before Meleager made his selection, which strongly conditioned any future per-
ception of Hellenistic epigram. In order to pursue such a survey, attention will be paid not
only to the poems transmitted through the Byzantine sources (namely AP, APl, and the
so-called ‘minor collections’), but also to epigrams preserved via papyri (in particular, the
recently published ‘Vienna Epigrams Papyrus’ – CPR XXXIII) and the indirect tradition (e.g.
Atheneus). The picture that will be drawn is likely to reflect a wider and more nuanced
variety of themes and typologies, from the part of early Hellenistic epigrammatists, than
the subsequent development of the genre in the 3rd to 2nd centuries BC, and then Mele-
ager’s selection, would suggest.
Annette Harder (Groninen) - Traces of a Lost Generation
In this paper an attempt will be made to form a picture of the generation of poets which
preceded Callimachus and his contemporaries in the course of the IVth century BC on the
basis of their – rather scanty – remains and to discuss some issues concerning their re-
ception. The starting point for this tentative reconstruction of what may be considered as
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a lost generation of poets are the collections of fragments in Powell’s Collectanea
Alexandrina and the Supplementum Hellenisticum. The main questions that will be ad-
dressed are: does a careful and systematic analysis of the remains of even the obscurest
poets help us to form a picture of the poetic background of Hellenistic poetry in the gen-
erations just before Callimachus? If so, what does this picture amount to? Does this anal-
ysis help to sketch a larger framework in which we can look at specific poets about whom
we know a little more, such as Archestratus or Timon of Phlius, and is it helpful for a more
precise evaluation of the innovative character of Callimachus’ poetry?
Richard Hunter (Faculty of Classics and Trinity College, Cambridge) - Callimachus and
the language of rhetorical style
This paper considers the relationship between so-called programmatic imagery and lan-
guage in Callimachus and the language of ancient rhetorical criticism. I will consider in
particular the relationship between Aitia fr. 1 and the classification of styles and types in
Demetrius, On Style and in the rhetorical and cultural critics (such as Dio Chrysostom) of
the imperial age. Ideas of 'Atticism' will also play an important role, and I will consider to
what extent ideas both about ‘Attic’ style and culture and about rhetorical Atticism may
shed light both on the origins of Callimachean poetics and on the meaning of Aitia fr. 1.
Gregory Hutchinson (Faculty of Classics and Christ Church, Oxford) - Philetas among
the Romans
The renown of Philetas for Romans is apparent; the accessibility of his texts is another
matter. There is not the same papyrus background as demonstrates the ubiquity of Cal-
limachus in the Greek world. But texts could readily have been brought to Rome, if Roman
poets saw it as their job to study as it were the previous bibliography in a genre. Close
and verbal connections appear in a poem near the start of Catullus’ polymetric book; it
forms part of a net of connections in 3-4 with Hellenistic poetry and archaic lyric. Broader
connections at least are apparent as Ovid spreads his range: Demeter near the end of the
Amores and bridging Metamorphoses and Fasti; Bittis in the poems of exile—and perhaps
there a closer link too with Demeter’s grief. In between, Propertius; entries too in the
didactic poems of Ovid. The Roman reception might point us to a wider vision of Philetas
than is sometimes entertained: emotion and wisdom as well as learning and refinement.
Agnieszka Kotlińska-Toma (Wroclaw) - Early Hellenistic Tragedy and the Rise of a New
Aesthetic
In the final decades of the fourth century we may note a significant shift in theatrical
productions. There are changes in both dramatic theme and production. This specific rev-
olution has a cultural basis but was also caused by significant political changes. Drama as
a form of mass entertainment had huge potential as a propagandist influence, so it was
the perfect medium for the broader distribution of new ideas. Changes in production, which
were partly as a result of the new political situation, were introduced to Athens by Deme-
trius of Phaleron, who later played a considerable role in the creation of the intellectual
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circle at Alexandria. Our knowledge of tragedy and satyr drama in this period is, however,
very limited. Only a small number of authors, testimonies and titles, and a few fragments,
are extant. Python, author of the play Agen, belongs without doubt to the precursors in
the field of satyr drama. Sosiphanes and Moschion may, with great caution, be counted
with the next generation, which was somewhat older than Callimachus, but which was
active when the Cyrenean was developing his intellectual identity. Since it is impossible to
establish an exact chronology of earlier Hellenistic poetry – among these authors Callim-
achus himself – it is also worthwhile to take a look at the authors who were active at the
same time as the Cyrenean (we assume that many of their works originated in the earlier
period of that poet’s own activity). Theaetetus, Sositheos, Lycophron, Alexander Aetolus
and Timon of Phlius without doubt belong to this grouping. The transformations that took
place in dramatic genres, including their ‘visual’ element or stage decorations, bore a sig-
nificant influence on the shaping of a new aesthetic in art and methods of thought and
imagery, and hence in poetry as well. The emergence of short performances of tragedies,
comedies, mimes, Homerists and the restaging of old dramas had a great influence not
only on the development of new poetic genres, but also on the poetic imagination itself,
and was able in a significant manner to change the code of understanding between the
producer and the audience.
Jan Kwapisz (Warsaw) - Taking Odd Measures
The reinvention of various Archaic lyric metres for stichic use is a phenomenon known to
have enjoyed a certain vogue among Hellenistic ‘bookish’ poets. My paper sets out to
investigate the origins of this short-lived tradition between the end of the fourth century
and the beginning of the third century BC. The known repertoire of these experimental
metrical patterns has been recently widened by the publication of the third-century ‘Vienna
epigrams papyrus’ (P. Vind. G 40611), which contains a palette of polymetric incipits; this
adds to the extant bunch of polymetric fragments and epigrams attributable to the third-
century poets of varying prominence, such as Simias of Rhodes, Asclepiades of Samos,
Phalaecus, Archebulus, Sotades, Theodoridas, Callimachus and Theocritus. Among these,
three poets stand out due to the likelihood of their belonging to the first generation(s) of
Hellenistic poets, namely Simias, Asclepiades (whose at least one incipit seems to be in-
cluded among the ‘Vienna epigrams’) and Phalaecus (who used his eponymous hendeca-
syllable for an epitaph for the famous fourth-century actor Lycon of Scarphe). In my paper,
after discussing the evidence for the early Hellenistic chronology of these three poets, I
will focus on answering the question of what it means that such experimentation with lyric
metres emerged at the dawn of the Hellenistic age. I will suggest that the re-use of lyric
metrical patterns in composing the emphatically literary poetry of the new era, namely
literary epigrams and pattern poems, was a novel means of contributing to create a pro-
ductive tension between the bookish medium and the archaizing tradition of sympotic song
– the tension detectable in and crucial for defining of so much of Hellenistic poetry.
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Rebecca Lämmle (Basel / Cambridge) - Cynulcus' Timon: Athenaeus and the Silloi
This paper explores the testimony for Timon of Phleius and the fragments of his Silloi in
Athenaeus' Deipnosophistai, and asks what we can learn about the Silloi from this im-
portant source.
Pauline LeVen (Yale) - The Authorial Voice of Lost Authors in Early Hellenistic Hymns
In the archaic and early-classical period, the dominant (but not the single) mode
of transmission of melic poetry was oral: songs were shared, learnt and passed down
through choral practice, school or private instruction, and participation in symposia, and
until the fourth century BCE, most cult songs were not inscribed by temple authorities.
A few cult hymns dating from the late fourth and early third centuries BCE, how-
ever, have survived in inscriptions (Aristonous’ Hymn to Apollo, Philodamus of Scarphaea’
Paean to Dionysus and Isyllus’ Paean to Asclepius, all collected in Powell’ Collectanea
Alexandrina). These texts offer us fascinating insights not only into missing generations of
lyricist, but also into the mechanisms of transmission and diffusion of poetry before the
advent of bookish poetry. The goal of my paper is to explore the consequence that this
shift in transmission and recording practices has for the notion of poetic authorship and
authorial voice.
As opposed to earlier cult hymns which are, for the most part for us, anonymous,
these fourth-century BC paeans are attached to the name of an author, either in the song
itself, by a poet cautiously staging the genesis and inscription of his composition in the
narrative (Isyllus), or in the material surrounding the inscribed text, the subscriptio that
describes the privileges accorded to the poet by the community who had the hymn in-
scribed (Aristonous and Philodamus). My paper first describes some of the poetic strate-
gies used by a poet to legitimize the source of his authority within the song, and to connect
it, or not, to his name. Second, I examine how the written medium, and the external
superimposition of a poet’s name to an otherwise anonymous song, affect the reception
of an oral form. Finally, I discuss the phase of “second anonymity,” the detachment of the
song from the figure of the “inscribed” author, as readers of the inscription travel away
from the stone and the conditions of (re)performance of the hymn change.
Enrico Magnelli (Florence) - Argonautic epic before Apollonius: Cleon of Kourion, and
(possibly) more
The aim of this paper is to discuss the scanty remains of Greek hexameter poetry on the
Argonautic saga that can be dated, either surely or tentatively, to the early Hellenistic
period. Predictably enough, it is Cleon of Kourion who gets the lion’s share. Much light has
been shed on him some fifteen years ago in a brilliant paper by Giovan Battista D’Alessio
(in R. Pretagostini [ed.], La letteratura ellenistica. Problemi e prospettive di ricerca, Rome
2000, 91-112): while acknowledging that my arguments will be mere slices from Giovan
Battista’s rich banquet, I hope that a re-thinking of the well known PMich. inv. 1316v (SH
339A), a fragment of a treatise of literary criticism comparing Apollonius and Cleon, may
help to better understand the literary features of the latter’s work. Three brief scholia on
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Apollonius Rhodius (on 1.77-8, 587, 623-6a = pp. 13, 51, 55 Wendel: SH 339) will also
be discussed with reference to the use of myth in Cleon’s lost poem. Other papyrus
fragments of uncertain authorship will receive attention as well. The tantalizing POxy 4712
(ed. D’Alessio, The Ox. Pap. LXIX, 2005, 54-83: cf. my remarks in ZPE 158, 2006, 11-12,
C. De Stefani, ibid. 8, and especially F. Pontani, Phasis 10, 2007, 133-149), come it from
Cleon’s poem or not, preserves a passage on Medea’s dreams usefully compared with
Apollonius’ treatment of the same subject; the tiny scraps of POxy 5190 (ed. D’Alessio,
The Ox. Pap. LXXIX, 2014, 41-50; on the contrary, POxy 3698 appears not to belong here,
since its verses have been plausibly ascribed to Eumelus, see A. Debiasi, Eumelo. Un poeta
per Corinto, Rome 2015, 15-22) will also be taken into account, though very little can be
said about either their content or their age. My hope is that a careful reading of the
evidence may tell us something about this interesting sub-chapter in the history of
Hellenistic epic, and even about Apollonius’ relationship to his (close) forbears and possible
models.
Thomas Nelson (Trinity College Cambridge) - Early Hellenistic Epic: A Reassessment
Perhaps more than any other genre, the fragmentary scraps and testimonia of early
Hellenistic epic provide ample opportunity for conflicting interpretation and debate. Once
considered widespread and the direct target of Callimachus' disdain in the Aetia prologue
(Ziegler, Das hellenistische Epos, 1966, Leipzig), the genre's very existence was called
into question twenty years ago by Alan Cameron, who famously argued that "relatively
little large scale epic was in fact written during the Hellenistic age" and "little or none in
the century or so before Callimachus published Aetia I-II" (Callimachus and his Critics,
1995, Princeton: 266). The extremes of Cameron’s polemic, however, conceal the fact
that we do have evidence for the existence of a number of early Hellenistic epics, even if
their scope and scale are ultimately an issue of pure conjecture.
In this paper, I propose to reassess this evidence, outlining discernible develop-
ments in the epic genre and highlighting potential precursors of the famous Hellenistic
aesthetic. I shall begin with Antimachus of Colophon and Choerilus of Samos, late classical
proponents of mythological and historical epic respectively, whose fragments already dis-
play many similarities with 'Callimachean' poetry. I shall then turn to early Hellenistic
encomiastic epic, reassessing what we know of the ‘Alexander poets’ beyond the scathing
verdict of literary history, while also comparing other early hexameter encomia by Aratus
and (potentially) Hermodotus. The bulk of the paper, however, will focus on early Hellen-
istic historical and mythological epic, including the works of Hegemon of Alexandria Troas,
Diotimus, Antagoras and Moero, exploring how these poets both follow on from Antima-
chus and Choerilus, and foreshadow what we later find in Apollonius Rhodius and Rhianus.
Despite the scarcity of our evidence, early Hellenistic epic, I argue, appears to have been
an important stage of transition in the development of the epic genre, and many of its
proponents already display archetypally ‘Callimachean’ interests in aetiology, paradoxog-
raphy and Homeric scholarship.
Maria Noussia-Fantuzzi (Thessaloniki) - A Cure for Love. Resisting Eros in Early Helle-
nistic Philosophy and Poetry
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Between the fourth and second centuries B.C. all the Hellenistic philosophical schools con-
tributed to the reflection about the nature of erôs standardly considering love as a sort of
irrational passion. Poets as well showed a sort of shyness for the fact that the intellectual
could fall prey to the passion of love, which was again viewed as a disease of the reason
(e.g. Callimachus, AP 12.150, Theocritus’ Id. 11.1-3). In this paper I investigate how the
early Cynics intervene in this long debate on the issue of resistance to love and how the
frames of
reference offered by poetry, philosophy and medicine can help us understand the ‘solu-
tions’ they add to it.
S. Douglas Olson (Freiburg Institute for Advanced Studies / Heidelberger Academy /
University of Minnesota) - Mock-Epic and Mock-Didactic in the Late Classical and Early
Hellenistic Periods: Archestratus, Matro and Others
This paper considers what is known of mock-epic and mock-didactic dactylic hexameter
poetry in the late 5th and early 4th centuries, beginning with Athenian Old Comedy, the
parodies of Hegemon of Thasos, Plato Comicus' "Philoxenus", and the Hedupatheia of Ar-
chestratos of Gela. I then turn to the late classical authors Euboeus of Paros and Matro of
Pitane, and to what appears to be their considerably more engaged and sophisticated
involvement with their Homeric exemplars. Most or all of this material was likely preserved
in the Library at Alexandria, and I argue that this new literary style, along with a marked
tendency toward an aesthetic of pathos in Matro in particular, can be read as an important
predecessor of certain aspects of Hellenistic dactylic hexameter poetry.
Peter Parsons (Faculty of Classics, Oxford University; Oxyrhynchus Papyri Project) -
Wandering Poems in early Ptolemaic Egypt?
This paper sets out to consider, from the evidence of papyri and ostraca, what kinds of
poems were being read in early Ptolemaic Egypt, not in Alexandria but in the chora; how
such texts might have been created, imported and circulated; which genres dominated
and what that says about the market for verse; and how far the market might have influ-
enced the preferences and prejudices of Callimachus & co.
Marco Perale (Liverpool) - Simias of Rhodes, the Artsy Avant-guardist
Impregnated with experimentalism and rooted in glossography and dialectology, Simias’
corpus remains one of the most diverse of the early Hellenistic times, including epigrams,
hymns, didactic and hexameter narrative poetry. Often referred to as the inventor of the
technopaignia ‘figure poems’, Simias paved the way for a new generation of Hellenistic
‘kainographers’ (cf. SH 677). He was awarded a place in the prologue of Meleager’s Gar-
land (4.1.30), where his poetry is compared to a ‘wild pear ready to be eaten’. A Rhodian
celebrity at the time of Strabo (14.2.13), Simias is placed by Hephaestio before Philicus,
a poet active at Alexandria under the Philadelphos, which suggests that he was contem-
porary with Philitas of Cos or earlier (cf. Maas 1927, 156). He was known to Philicus, who
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borrowed one of his metrical inventions, and imitated by Callimachus, who may have al-
luded to him in his epigram on the school-boy Simos (ep. 48 Pf. = 26 G.-P.; Fantuzzi 2007,
76-8). Unlike the epigrams and the figure poems, which travelled as far as Rome (we find
echoes in both Catullus 3.11: Robinson Ellis 1876, and Laevius: Kwapisz 2013, 30-3),
Simias’ more arduous and ambitious poetic heritage disappeared gradually but inexorably
at the beginning of the Imperial age. In my talk, I will give an overview of Simias’ corpus,
discussing content, genre and style of the fragments from these lost poems, i.e. the eth-
nographic poem Apollo, the epic Gorgo, the didactic Months, and his lyric hymns. I will
also investigate the reception and circulation of Simias’ fragments and epigrams in the
Hellenistic age, and his influence on later generations of poets. Finally, I will try to inscribe
Simias in the cultural and literary milieu of the early Hellenistic times, and put forward the
idea that his poems and collection of glossai were conceived and produced either within a
royal court context (Alexandria or Pella) or at his native ciy Rhodes (vd. frr. 8 and 11 P.).
Konstantinos Spanoudakis (Rethymno) - Philitas of Cos: 14 Years Later
My edition of Philitas of Cos (originally a St Andrews PhD) was published by Brill in 2002.
The initial part of the paper will revisit the principles of that edition and will present and
evaluate the progress on Philitan scholarship since then. The second part will summarize
the possible content of the works of Philitas from a critical perspective and will re-examine
(a) anonymous entries in Hesychius tentatively ascribed to Philitas and (b) the nature of
his controversial grammatical work Ataktoi Glossai ‘Unruly Words’.
Guendalina Taietti (Liverpool) - The poets at Alexander’s court. How fat is flattery?
My paper focuses on the accusations against the epic poets at Alexander’s court and aims
at reassessing their status as valuable writers within the Macedonian’s artistic court pro-
duction. The extant information on Aeschrion, Agis, Anaximenes and Chroerilus is un-
doubtedly scant, but in my opinion the blame that the ancients cast upon them has too
often been taken for granted. I think that there is room for a reassessment of their works
and for some historical speculation: how could they all be such bad poetasters if Anaxim-
enes was also a famous rhetorician and a prolific historian, if a meter was named after
Aeschrion, and if Choerilus apparently made a craft translation of Sardanapalus’ verses?
What kind of poets did Alexander choose for the glorification of his campaign? The king
knew well how to hire excellent artists (Lysippus, Apelles, Pyrgoteles), but most of the
writers at his court (among them, the historian Callisthenes) were charged with flattery.
Is it a mere accusation, or is it showing us something about Alexander’s taste and agenda?